This description is a preliminary draft and is subject to change without notice
Uppsala University Library, Gr. 21 (Olim Björnståhl 11)
Poetry miscellany, probably for educational use
i, 30, i' ff.
220 × 160 mm
With interlinear glosses and a few longer scholia. Following the main text, there are on ff. 24v–25v also sketches and diagrams relating to it (illustrating e.g. the four elements, agricultural implements, celestial bodies, the zodiac). The sketches may be compared to the illustrations in the Venice print edition from 1537: Trincavelli (1537) ..
f. 9v is blank. The text continues on the next page without interuption.
The manuscript is used for the critical edition.
Strodel characterizes these manuscripts as possibly directly related (‘Handschrift S 43, die möglicherweise ebenfalls direkt auf F zurückgeht’).
Foliation in pencil by a modern hand: 1–30.
Q1(VI-1post f.7+2f.8–9)f.13 + Q2IVf.21 + Q3(II-1post f.24)f.24 + Q4IIf.28 + Q5If.30
No threads are visible in the quires due to the excessive use of adhesive at the spine. The collation is thus tentative and based on the different kinds of paper and the watermark positions.
One blank leaf (except for the signum ‘Cod. Gr. 21’ on f. SL1r) folded around the spine functions as flyleaves on either side of the bookblock.
This paper of coarser quality was only used for one substitute bifolium. No watermarks visible.
ff. 1r–30v Nikolaos Gaitanos Marulos Responsible for all the main texts, and most of the paratexts including rubricized parts, commentaries and glossae. He uses an even, slightly right-sloping humanist minuscule in the style of Camillus Venetus (so-called Camillus-Schrift); cf. Harlfinger (1977) pp. 336–337, .. ff. 28r–28v A sixteenth-century minuscule hand, probably responsible for the Syrinx paraphrase, the second paraphrase to the Altar (i.e. the one to the left on f. 28v), as well as the note in the lower margin on the same page. Note the use of the ‘Fähnchen-Tau’, in conformity with the main scribe. ff. 1r–18v Scattered glosses in a cursive minuscule hand, mainly in the outermost margin and occasionally in-between lines.
Rubrics and initials in red ink on (ff. 1r–25v) and (ff. 29r–30v). On (f. 1r), (f. 12r), and (f. 29r) larger decorated initials (6–7 lines high) and a headpiece with a vegetal pattern consisting of convolute hairlines, buds and curlicues. Similar but smaller decoration and initial on (f. 30v). Red ink is also used profusely for comments and interlinear glosses.
Layoutff. 1r–9r, 10r–24v Written area: 155 × 65/75 mm ff. 26r–27v Written area: 180/190 × 125/130 mm ff. 25r–26r, 28r–28v Layout and number of lines varying. ff. 29r–30v Written area: 165 × 115 mm Main text always 24 lines per page. In the commentary surrounding the main text there are around twice as many lines per page.
Pattern-woven silk cover in gold, green, and beige over paper boards. No endbands. Brokatpapier in green and copper is used for pastedowns. For the identical pattern but in different colours, see Heijbroek (1994) p. 120.; pattern N:o 72 (manufacturer Georg Reimund, Augsburg, who was active 1746–1755).
Binding dimensions: 225 × 165 × 7 mm
Unit I:Probably written in Venice in the 1540s. Watermarks and the handwriting (in so-called ‘Camillus-Schrift’ style) may suggest a link to the workshop of Bartolomeo Zanetti. Its present binding stems from the mid-eighteenth century.
The manuscript was acquired by Jacob Jonas Björnståhl (1731–1779), most probably during his travels through Europe in the years 1767–1779. That it would, as is the case with several of his other manuscripts, have its provenance in one of the Thessalian monasteries, is perhaps less likely given its rather costly binding in silk and brocatpapier.